At Maculangan

Sam is a former soldier who unintentionally gets disturb in a robbery gone wrong. Escaping with the bag of stolen loot, he hides inside an abandoned mansion where he meets the mysterious young woman Latia. They begin a passionate and blazing affair even as the crime kingpin Johnny B and his armed men launch a desperate search for the money.

Loving husband Lino is on a mission: his wife, who works as a domestic in Milan, is missing and he's determined to find her. To do so, he enters Italy illegally and takes cover as one of the hundreds of Filipino migrant workers who make their way to Europe.

A poet hearkens back to his Philippine village after years abroad in Europe. Horrified to discover that the community has been buried under landslides, he wanders the countryside, reconnecting with friends, lovers, and family whose lives teeter on the brink of destruction.

This avant-garde, associative collage equates the system’s relationship to Filipino citizens as a marriage. But instead of a wedding full of majestic gestures, we witness a tyrannical system led by a conductor-like figure representing colonial domination and a military regime. The work, which was created under German cinematographer Christoph Janetzko's direction, borrows on archived records from such classic Filipino documentary filmmakers as Nick Deocampo and Ricky Orellana.

Pandanggo has three stories with parallel themes converging in one event, the Kasilonawan Festival in Obando: a career woman learning to dance tango who is torn between her dance partner and live-in partner has to choose the man who will satisfy her dream of raising a family; a wife whose wish to conceive a baby boy to make her husband happy brings her feet to the festival, but fate has other plans of bringing the child into her life; and a modern woman who, amidst her medical condition that might render her childless for the rest of her life, finds connection with an ancient lore about fertility.

A man crawls on the street of Manila at the height of EDSA Revolution.

This avant-garde, associative collage equates the system’s relationship to Filipino citizens as a marriage. But instead of a wedding full of majestic gestures, we witness a tyrannical system led by a conductor-like figure representing colonial domination and a military regime. The work, which was created under German cinematographer Christoph Janetzko's direction, borrows on archived records from such classic Filipino documentary filmmakers as Nick Deocampo and Ricky Orellana.

A man crawls on the street of Manila at the height of EDSA Revolution.

Originally a three-part experimental film, respectively titled SPIT, WORDS AND OUTAKES..., and OPTIK, combining animation, illustration, found footage and liquid mercury.